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Showing posts with label Nuts. Show all posts
Showing posts with label Nuts. Show all posts

Medieval Pork Meatballs in Almond Milk



Pumpes, medieval pork meatballs served in almond milk with edible flowers
Pumpes - Meatballs in Almond Milk

Originally published May 20, 2016. Updated June 2026.

Pumpes are among the prettiest dishes preserved in Harleian MS. 279: tender pork meatballs served beneath a smooth almond milk sauce, thickened with rice flour and finished with sugar, mace, and tiny red flowers. At first glance, the recipe looks simple. A good piece of pork is boiled, chopped very small with cloves, mace, and currants, rolled into small pellets, and served five to a dish beneath a pale almond milk pottage.

What makes this recipe so interesting is not simply that it is an early English meatball dish, but that it belongs to a much larger family of medieval shaped meat recipes. Across several English manuscripts we find related dishes called pomme dorry, powme dorrys, poumes, pumpes, pompys, and pomes. Some are boiled and roasted. Some are gilded with egg. Some are colored red or green with herbs or saffron. Some are served in broth, syrup, or almond milk. The meatball remains familiar. The sauce, color, and presentation change from manuscript to manuscript.

Here is another meatball recipe from Two Fifteenth-Century Cookery-Books: Harleian MS. 279 (ab. 1430), and Harl. MS. 4016 (ab. 1450), with extracts from Ashmole MS. 1439, Laud MS. 553, and Douce MS. 55, edited by Thomas Austin. This is very pretty to look at, but without salt or pepper the dish is a bit on the bland side. My guess is that the majority of the seasoning would come from whatever seasonings might have been used in the pork when it was cooked. I used ground raw pork to make the meatballs, and would highly suggest that you add additional seasoning than just clove and mace. I did.


Why This Recipe Matters

Long before meatballs found their way into bowls of tomato sauce, cooks across Europe and the Mediterranean were shaping seasoned meat into elegant little portions fit for refined tables. Roman cooks prepared shaped meats in savory sauces. Medieval Arabic cooks pounded meat with spices, saffron, onion, murri, and egg. English cooks gilded meatballs with eggs, colored them with herbs, floated them in almond milk, and crowned them with flowers.

Pumpes preserves one branch of that long culinary story. It shows how a familiar cooking technique could become something delicate, decorative, and unmistakably medieval.


Recipe Lineage: A Medieval Family of Meatballs

Unlike many medieval recipes that survive in only a single manuscript, Pumpes belongs to a remarkable family of shaped meat dishes that can be traced across English cookery from at least the late fourteenth century into the later fifteenth century.

Earlier examples appear in Forme of Cury as Pomme Dorryle and Pommedorry. These recipes use raw pork or beef, spices, currants, and egg before the formed balls are boiled, roasted, and decorated with herbs or saffron. Liber Cure Cocorum preserves Powme Dorrys, again emphasizing raw pork, beaten eggs, boiling, roasting, and colorful gilding. A Noble Boke off Cookry continues the tradition with Pomes, showing that these decorative meatball dishes remained part of English culinary practice well into the fifteenth century.

The broader technique is older still. Roman cookery includes shaped meat preparations served in sauce, and the thirteenth-century Anonymous Andalusian Cookbook includes meatball dishes made from pounded meat, egg, spices, saffron, onion, oil, murri, and aromatic cooking liquids. These sources do not prove that English Pumpes descended directly from Roman or Andalusian recipes, but they do show that cooks across many centuries understood the same useful idea: finely chopped or pounded meat could be seasoned, shaped, cooked, and served as elegant individual portions.

What changes from manuscript to manuscript is not the meatball itself, but the finishing treatment. In some recipes the balls are boiled and then roasted. In others they are colored with herbs or saffron. In Harleian MS. 279, they are transformed by broth, almond milk, rice flour, sugar, mace, currants, and flowers. That makes Pumpes part of a living recipe family rather than a lonely curiosity in the manuscript.


Historical Background

The name of the dish is part of the story. Medieval English spelling was far from standardized, and related recipes appear under several forms: poumes, pumpes, pompys, pomes, and pomme dorry. The word likely points toward the idea of a rounded shape, recalling the Old French pomme, or apple. These were not pumpkin dishes, but little rounded morsels of meat, shaped like small apples or pellets.

The recipe itself gives one of the most useful clues about presentation: "ley .v. pompys in a dysshe." Five meatballs were to be placed in a dish and covered with the almond milk pottage. This suggests an individual or small shared serving rather than a vague quantity poured into a communal bowl. The optional flower garnish, sugar, and mace also indicate that appearance mattered. This was not merely a way to use chopped pork. It was a dish meant to be seen.

Did You Know?

Medieval cooks decorated savory dishes with flowers centuries before edible flowers returned to modern fine dining. In Pumpes, each meatball could be topped with a small red field flower before serving.

The Original Recipe

Original source note: The Middle English recipe appears in Thomas Austin's edition of Two Fifteenth-Century Cookery-Books. A modern transcription is also available through Medieval Cookery. Full source links are listed in the Sources section below.

.Cxxxviij. Pumpes. Take an sethe a gode gobet of Porke, & noȝt to lene, as tendyr as þou may; þan take hem vppe & choppe hem as smal as þou may; þan take clowes & Maces, & choppe forth with-alle, & Also choppe forth with Roysonys of coraunce; þan take hem & rolle hem as round as þou may, lyke to smale pelettys, a .ij. inches a-bowte, þan ley hem on a dysshe be hem selue; þan make a gode Almaunde mylke, & a lye it with floure of Rys, & lat it boyle wyl, but loke þat it be clene rennyng; & at þe dressoure, ley .v. pompys in a dysshe, & pore þin potage þer-on. An ȝif þou wolt, sette on euery pompe a flos campy*. [? field-flower. ] flour, & a-boue straw on Sugre y-now, & Maces: & serue hem forth. And sum men make þe pellettys of vele or Beeff, but porke ys beste & fayrest.

Translation

38. Pumpes - Take and boil a good piece of pork, and not too lean, as tender as you may; then take it up and chop it as small as you may; then take cloves and mace, and chop them together with it, and also chop in raisins of Corance; then take them and roll them as round as you may, like small pellets, about 2 inches around, then lay them on a dish by themselves; then make a good almond milk, and mix it with flour of rice, and let it boil well but look that it be clean running; and when you go to serve, lay five meatballs in a dish and pour your broth thereon. And if you will, set on every meatball a field flower, wild campion, a small red flower, and above strew on sugar enough and mace; and serve them forth. And some men make the pellets of veal or beef, but pork is best and fairest.


Flos Campi: A Flower Worth Remembering

One of the most delightful details in Pumpes appears in the final sentence of the recipe. After the meatballs have been placed in the almond milk pottage, the cook is invited to place a flos campi, literally a "flower of the field," upon each one before finishing the dish with sugar and mace. It is a reminder that medieval cooks valued presentation every bit as much as flavor.

The exact flower intended has been debated. The Middle English Dictionary describes it as:

"a special flour and hath that name for he groweth by himself in places that be nought tilled...and is a litil flour with a small stalk and the flour is reed as blood."

Many historians associate the description with wild campion or another small red field flower. For my reconstruction I chose red dianthus, known in period as the clove gillyflower, because it provides a similar appearance while remaining edible and readily available. Regardless of the exact species, the manuscript makes one thing clear: these meatballs were intended to be beautiful as well as delicious.

Red dianthus used as flos campi in the reconstruction of Pumpes

Ingredients in Context

Pork

The manuscript recommends pork over both beef and veal, concluding that "pork is best and fairest." The additional fat in pork helps produce tender meatballs after boiling while also creating a pleasing pale color beneath the white almond milk sauce. Although beef and veal were acceptable substitutions, pork clearly represented the preferred presentation.

Almond Milk

Modern readers often think of almond milk as a recent innovation, yet it appears throughout medieval English cookery. Almond milk was valued for its rich texture, delicate flavor, and brilliant white color. It also allowed cooks to prepare luxurious dishes during periods of religious fasting when animal milk was restricted. Harleian MS. 279 uses almond milk repeatedly, making it one of the defining ingredients of the manuscript.

Rice Flour

Rice was an imported luxury commodity in fifteenth-century England. Ground into flour, it created smooth sauces without overwhelming delicate flavors. The recipe specifically instructs the cook to make the sauce "clean running," suggesting that the finished pottage should lightly coat the meatballs rather than becoming a thick gravy.

Roysons of Coraunce

The manuscript specifies roysons of coraunce, small dried currants imported through Mediterranean trade. Medieval cooks frequently paired meat with dried fruit, producing the characteristic sweet-savory combinations found throughout aristocratic cuisine. These currants contribute gentle sweetness while balancing the warming spices of mace and cloves.


Household Context

Pumpes was likely prepared in the kitchens of prosperous households where imported almonds, rice, sugar, spices, and currants were readily available. Although the technique itself is straightforward, the ingredients speak of status. Individually plated portions, edible flowers, and imported luxuries suggest that this was intended for the tables of the gentry or nobility rather than as everyday fare.

The instruction to serve exactly five meatballs to a dish further suggests careful presentation rather than simple family dining. Like many recipes in Harleian MS. 279, the finished appearance was every bit as important as the flavor.


Feast Placement

Pumpes would have been especially appropriate during the opening courses of a medieval feast or as an elegant entremet served between larger meat courses. Its delicate almond milk sauce, decorative flowers, and imported ingredients made it visually impressive while remaining relatively light compared to the heavily roasted meats that often followed later in the meal.


Humoral Theory

Within medieval dietary theory, pork was generally regarded as nourishing and moist. The warming qualities of cloves and mace helped balance those characteristics, while almond milk softened the richness of the meat. Currants and sugar added gentle sweetness without overwhelming the savory nature of the dish. Together these ingredients produced what medieval physicians would likely have regarded as a carefully balanced first-course dish, intended to prepare the stomach for the remainder of the meal.


Reconstruction Notes

This reconstruction taught me an important lesson about medieval recipes. My first attempt followed the manuscript quite literally using fresh ground pork. Although the finished dish was attractive and remarkably easy to prepare, it lacked the depth of flavor I expected.

Looking more carefully at the manuscript, I suspect the answer lies in the opening instruction. The original recipe begins with a boiled piece of pork, not raw ground pork. That pork may already have been seasoned during its original preparation, something the medieval cook would simply have taken for granted. By beginning with fresh ground pork, I unintentionally omitted an entire layer of flavor.

Rather than altering the historical recipe itself, I chose to add additional seasoning for modern tastes. At the very least, salt and pepper greatly improve the final result. If I prepare this dish again, I would likely begin with leftover roasted or gently seasoned pork before chopping it finely, preserving both the spirit of the manuscript and the flavor the original cook may have expected.


Interpreted Recipe

Serves: 1 as a main dish, 2 as a side

1/4 pound ground pork
1/8 tsp. clove and mace
1 tbsp. raisins
1 cup almond milk
2 tbsp. rice flour
Small red flowers (I used red dianthus, known as clove gillyflower in period.)
Pinch of sugar and mace to garnish

Mix together the pork, clove, mace, raisins (and any additional seasoning you may wish), then shape into meatballs. I added one egg to bind the mixture together. Drop the meatballs into a pan of cool water and bring to a boil. Cook until thoroughly done.

While the meatballs are cooking, bring the almond milk and rice flour to a gentle boil until slightly thickened. I prefer a thicker sauce, so I used two tablespoons of rice flour. When the sauce has thickened and the meatballs are cooked, place them into a serving bowl, pour the almond milk over them, garnish with the flowers, and finish with a light sprinkle of sugar and mace. Add the flowers immediately before serving, as they wilt quickly.

As I noted in the original article, this was a very bland dish as reconstructed. Additional seasoning is required, at the very least salt and pepper, to better suit the modern palate. I suspect it would be especially successful using the same seasoning profile found in the lvj. Poumes recipe. Despite its mild flavor, this remains one of the prettiest dishes in Harleian MS. 279, and I would happily prepare it again for a future feast.


Kitchen Notes

  • Authenticity: The recipe has been intentionally left at its original tested yield. Medieval feast cooks can easily scale it using [The Steward's Table]
  • Seasoning: The manuscript assumes previously cooked pork. Modern ground pork benefits from additional seasoning, especially salt and pepper.
  • Almond Milk: Homemade almond milk produces the richest flavor, but an unsweetened commercial almond milk may also be used.
  • Currants: True currants are closer to the manuscript than modern raisins, although either produces an enjoyable result.
  • Flowers: Add edible flowers only at the moment of service. They wilt quickly in the warm almond milk.
  • Feast Preparation: The meatballs can be prepared a day ahead and gently reheated in the finished almond milk sauce before serving.

Kitchen Copy

Pumpes (Harleian MS. 279)

Yield:
1 main course or 2 side servings

Ingredients

1/4 pound ground pork
1/8 tsp ground cloves
1/8 tsp ground mace
1 tbsp currants (or raisins)
1 egg (optional for binding)
1 cup almond milk
2 tbsp rice flour
Pinch sugar
Pinch mace
Edible red flowers

Instructions

Mix pork, cloves, mace, currants and egg if using.
Form into small meatballs.

Poach until cooked through.

Heat almond milk and whisk in rice flour until lightly thickened.

Place five meatballs into each serving bowl.

Pour almond milk sauce over top.

Garnish with sugar, mace and edible flowers immediately before serving.

The Steward's Table

Preparing this recipe for a feast?

Copy the Kitchen Copy above and paste it into [The Steward's Table] to automatically:

  • Scale the recipe up or down
  • Create a working kitchen copy
  • Generate shopping quantities
  • Print a feast-ready version

The Steward's Table is designed specifically for historical cooks preparing anything from a family dinner to a large SCA feast.


Frequently Asked Questions

Why almond milk instead of dairy milk?

Almond milk was one of the defining ingredients of medieval English cookery. Besides producing a delicate white sauce, it was acceptable during many Church fast days when animal milk was prohibited.

Why are there flowers on the meatballs?

Decoration was an important part of elite medieval dining. Flowers, colored sauces, and bright garnishes demonstrated both wealth and the cook's skill while making the table more visually impressive.

Can I use beef or veal?

Yes. The manuscript specifically notes that some cooks prepared the pellets from beef or veal. However, it concludes that pork is "best and fairest."

Why does the recipe taste mild?

The original recipe begins with an already cooked piece of pork. That meat was probably seasoned during its initial preparation, something the medieval cook did not need to explain. Modern ground pork benefits from additional seasoning.


Continue Exploring Harleian MS. 279



Sources & Further Reading

If you'd like to explore the original manuscripts and related works, these sources provide the foundation for this reconstruction and are well worth reading.


Further Reading

One of the most enjoyable discoveries during the research for this article was realizing that Pumpes belongs to a much larger family of recipes spanning more than a thousand years. From Roman shaped meats served in savory sauces, through Arabic meatball dishes seasoned with saffron and murri, to the elegant English recipes of Forme of Cury, Liber Cure Cocorum, Harleian MS. 279, and A Noble Boke off Cookry, medieval meatballs tell a surprisingly rich story of culinary continuity and innovation.

AI Transparency

This article was originally published in 2016 and extensively expanded in 2026 using the original manuscript, comparative medieval cookbooks, historical food scholarship, and the author's tested reconstruction. The original recipe, photographs, observations, and reconstruction have been preserved while historical context has been expanded.

Itria – Sesame Seed Biscuit & Basyniai – Fig and Walnut Cakes: Ancient Roman Sweets

Itria – Sesame Seed Biscuit & Basyniai – Fig and Walnut Cakes: Ancient Roman Sweets

Push for Pennsic 2004 Early Roman feast spread with Roman-inspired dishes and sweets

Course: Mensa Secunda (Final Course / Dessert)
Origin: Ancient Rome
Served: Itria cooled; Basyniai warm
Event: Push for Pennsic 2004 – Early Roman Feast

Originally published: June 29, 2025 | Updated: June 3, 2026

Updated 6/3/2026: This post has been refreshed to current Give It Forth standards with expanded historical context, clearer recipe formatting, feast service notes, dietary notes, FAQ, internal links to the Roman feast series, and structured recipe data.

What are Itria and Basyniai? These two Roman-inspired sweets were served as part of the mensa secunda, the final course of the feast. Itria is interpreted here as a honeyed sesame-and-nut sweet, while Basyniai are small fig-and-walnut pastries fried in oil and finished with warm honey.

Itria and Basyniai in the Roman Feast

The final course of a Roman-style meal was not always a modern dessert course in the strict sense. Roman diners enjoyed fresh fruit, dried fruit, nuts, honeyed sweets, cakes, and small confections, but sweet and savory flavors could appear throughout the meal. A final course might refresh the palate rather than act as a heavy sugary ending.

For the Push for Pennsic 2004 – Early Roman Feast, these two sweets were served alongside assorted fresh and dried fruit and sugared nuts. Together, they offered the kind of small, rich, portable treats that work beautifully at the end of a large feast.

Both recipes are practical for event cooking. The sesame sweet can be made ahead, portioned into small bites, and served cooled. The fig-and-walnut pastries are best warm, but the filling and dough can be prepared in advance, making final service easier.

🏛️ Roman feast note: These sweets were part of the mensa secunda, served after the more substantial dishes of the feast. They pair especially well with fruit, nuts, grape juice, apple juice, lemonade, or other light beverages for a modern event table.

Historical Background

Sesame and honey confections were beloved across the ancient Mediterranean. Greek and Roman foodways both made use of small sweets made from seeds, nuts, dried fruits, and honey. These were compact, rich, and easy to portion, making them especially useful for feast service.

The Greek pasteli and Roman iritia or itria bear some resemblance to seed-and-honey sweets, although ancient food terms can shift in meaning depending on source, period, and context. For this feast, Itria was interpreted as a honey-bound sesame-and-nut confection: simple, fragrant, and portioned as small bites for the end of the meal.

Basyniai reflects another familiar ancient pattern: fruit and nuts enclosed in simple dough, fried in oil, and finished with honey. Figs, walnuts, olive oil, and honey were all well-suited to Roman-style sweets. The result is rustic rather than delicate, but rich, memorable, and feast-friendly.

These sweets also help modern diners understand that Roman final courses were not necessarily the same as modern desserts. A Roman-inspired ending could include fruit, nuts, honeyed cakes, fried pastries, and small confections rather than a single large cake or pudding.

⚖️ Humoral note: Later medieval dietary theory often treated nuts as rich and substantial, dried fruits as warming and nourishing, and honey as warming and drying. Although these are Roman-inspired sweets rather than medieval recipes, the practical balance is clear: dense nuts and figs are lifted by crisp pastry, toasted sesame, and warm honey.

Fride Creme of Almaundys – Medieval Almond Cream Cheese (Harleian MS. 279)

Fride Creme of Almaundys – Cold Cream of Almonds, a Medieval Almond “Cheese” (Harleian MS. 279)

Fride Creme of Almaundys, a medieval cold cream of almonds served like almond cheese
Fride Creme of Almaundys – Cold Cream of Almonds

Originally published: November 15, 2015 at 6:07 PM | Updated: May 19, 2026

Updated 5/19/2026: This post has been fully revised to current Give It Forth standards with expanded historical context, a clearer modern translation, a feast-scaled redaction serving eight, dietary notes, related almond-milk recipes, FAQ, source links, and structured recipe data.

What is Fride Creme of Almaundys? This fifteenth-century recipe from Harleian MS. 279 makes a thickened, drained almond cream: something between sweet almond curd, almond cream cheese, and a soft dairy-free spread. It was especially useful for Lenten and fast-day tables, when animal dairy might be restricted.

Almond milk cream cheese? Yes, yes, yes! This dish is definitely being added to my repertoire of things to make at feast. Despite the fact that the instructions sound forbiddingly difficult, this dish is very easy to make. It starts with my quick and dirty almond milk recipe and ends with a sweet, creamy Lenten substitute for cheese or butter.

Why Almond Cream Matters in Medieval Cooking

Almond milk appears again and again in medieval European cookery, especially in elite and urban recipe collections. It was not merely a modern-style dairy substitute; it was a flexible kitchen technology. Almonds could be ground, steeped, strained, boiled, thickened, colored, sweetened, or soured. The resulting milk or cream could stand in for dairy in fast-day cookery, enrich sauces, thicken pottages, and create elegant dishes for feast tables.

Fride Creme of Almaundys is especially interesting because it treats almond milk almost as though it were dairy. The cook makes a thick almond milk, heats it, salts it, lets it rest, drains it through linen, sweetens it, and dresses it in the manner of mortrewys, a soft, rich pottage or paste-like dish. The result is not cheese in the biological sense, since it is made from almonds rather than animal milk, but the texture and use are familiar: soft, spreadable, rich, and suited to careful presentation.

📖 Fast-day cooking: In medieval Christian food culture, periods such as Lent and many weekly fast days restricted meat and sometimes animal dairy. Almond milk gave cooks a luxurious way to create creamy sauces, soups, desserts, and “cheese-like” dishes without relying on cow, sheep, or goat milk.

This recipe also gives a glimpse into the practical intelligence of medieval kitchens. The almond cream is drained in linen, adjusted with sugar and salt, and loosened with sweet wine if it becomes too thick. This is exactly the kind of instruction that suggests hands-on cookery: the cook is expected to watch the texture and correct it as needed.

Original Text and Modern Translation

Original Text Modern Translation

.xij. Fride Creme of Almaundys. — Take almaundys, an stampe hem, an draw it vp wyth a fyne thykke mylke, y-temperyd wyth clene water; throw hem on, an sette hem in þe fyre, an let boyle onys: þan tak hem a-down, an caste salt þer-on, an let hem reste a forlongwey or to, an caste a lytyl sugre þer-to; an þan caste it on a fayre lynen clothe, fayre y-wasche an drye, an caste it al a-brode on þe clothe with a fayre ladel: an let þe clothe ben holdyn a-brode, an late all þe water vnder-nethe þe clothe be had a-way, an þanne gadere alle þe kreme in þe clothe, an let hongy on an pyn, and let þe water droppe owt to or .iij. owrys; þan take it of þe pyn, an put it on a bolle of tre, and caste whyte sugre y-now þer-to, an a lytil salt; and ȝif it wexe þikke, take swete wyn an put þer-to þat it be noȝt sene: and whan it is I-dressid in the maner of mortrewys, take red anys in comfyte, or þe leuys of borage, an sette hem on þe dysshe, an serue forth.

12. Cold Cream of Almonds. Take almonds and pound them, and draw them up into a fine thick milk tempered with clean water. Put it on the fire and let it boil once. Then take it down, add salt, and let it rest a furlong-way or two. Add a little sugar. Then cast it onto a fair linen cloth, well washed and dried, spreading it broadly with a ladle. Let the cloth be held wide so that the water beneath may drain away. Gather the cream together in the cloth and hang it on a pin, letting the water drip out for two or three hours. Then take it down, put it in a wooden bowl, and add enough white sugar and a little salt. If it becomes too thick, add sweet wine so that it is not noticeable. When it is dressed in the manner of mortrews, garnish the dish with red anise comfits or borage leaves, and serve it forth.

Recipe can be found here: Full text of Two Fifteenth-Century Cookery-Books. Harleian MS. 279 (ab. 1430), & Harl. MS. 4016 (ab. 1450), with extracts from Ashmole MS. 1429, Laud MS. 553, & Douce MS. 55.

For more information on this and similar recipes, please visit Dan Myers’ Medieval Cookery by clicking the link below.

xij – Fride Creme of Almaundys. Take almaundys, an stampe hem, an draw it vp wyth a fyne thykke mylke, y-temperyd wyth clene water; throw hem on, an sette hem in the fyre, an let boyle onys: than tak hem a-down, an caste salt ther-on, an let hem reste a forlongwey (Note: Other MS. forlange.) or to, an caste a lytyl sugrether-to; an than caste it on a fayre lynen clothe, fayre y-wasche an drye, an caste it al a-brode on the clothe with a fayre ladel: an let the clothe ben holdyn a-brode, an late all the water vnder-nethe the clothe be had a-way, an thanne gadere alle the kreme in the clothe, an let hongy on an pyn, and let the water droppe owt to (Note: two.) or .iij. owrys; than take it of the pyn, an put it on a bolle of tre, and caste whyte sugre y-now ther-to, an a lytil salt; and 3if it wexe thikke, take swetewyn an put ther-to that it be no3t sene: and whan it is I-dressid in the maner of mortrewys, take red anys in comfyte, or the leuys of borage, an sette hem on the dysshe, an serue forth.

Interpreting the Recipe

The original instructions describe several important techniques:

  • Make a thick almond milk: This is not a thin drinking almond milk. It should be rich enough to leave body behind after straining.
  • Boil once: Heating thick almond milk helps it thicken and set into a creamier texture.
  • Salt, rest, and sweeten: The balance is not purely sweet. A little salt gives the finished almond cream a more cheese-like character.
  • Drain in linen: This is the key step. The texture depends on removing enough liquid to make a soft, spreadable cream.
  • Adjust with sweet wine: The recipe assumes correction. If the almond cream grows too thick, it may be loosened discreetly with wine.
  • Garnish beautifully: Red anise comfits or borage leaves make this a feast-worthy presentation rather than a plain kitchen paste.
🌰 Texture note: This is best understood as a drained almond cream or almond curd. It will not behave exactly like dairy cheese, but when properly drained and sweetened it becomes smooth, rich, and spreadable.

Humoral and Dietary Context

In medieval medical and dietary writing, almonds were generally considered nourishing, temperate, and useful in refined cookery. They were often recommended in preparations intended to be gentle, strengthening, or suitable for restricted diets. Sugar, depending on context, was also valued medicinally as well as culinarily. Sweet spices such as cinnamon, cloves, mace, cubebs, and related spice mixtures were frequently associated with warmth and digestion.

Within that framework, Fride Creme of Almaundys makes sense as more than a novelty. It is rich without meat, creamy without animal dairy, elegant without being complicated, and adaptable for feast service. The optional additions of wine, saffron, comfits, and borage place the dish firmly in the world of careful presentation and sensory balance.

🥕 Dietary Notes:
  • Vegan / Dairy-Free: This recipe is naturally dairy-free when made with almond milk and sweet wine or vinegar.
  • Vegetarian: Suitable as written.
  • Gluten-Free: Suitable as written, provided all garnishes and spice blends are gluten-free.
  • Nut Allergy: This recipe is almond-based and is not suitable for those with tree nut allergies.
  • Alcohol-Free: Use vinegar or verjuice instead of wine for curdling and omit the final sweet wine adjustment.
  • Feast Service: Serve in small bowls, molded portions, or as a spread with wafers, bread, sops, or fruit.
  • Camping/Event Use: Best made ahead and packed cold. Keep refrigerated in a cooler and serve in small portions with bread, wafers, crackers, or fruit. Not ideal for making from scratch at camp unless you have reliable heat, clean straining cloths, and adequate chilling.

Two Italian Sauces for Roasted Meat: Walnut & Green Herb (Medieval to Renaissance)



Tacuinum Sanitatis, Casanatense 4182 (14th c.): roasting meat at the hearth. Public domain. Courtesy of Wikimedia Commons / Biblioteca Casanatense.

Two Italian Sauces for Roasted Meat: Walnut & Green Herb (Medieval to Renaissance)

Updated with historical context & interlinks to the 2024 Tournament of the Arts lunch menu.

For the Tournament of the Arts (2024) lunch, I wanted condimenti that traveled well, didn’t need reheating, and made simple roast or cold meats sing. These two Italian sauces do exactly that: a nutty, velvety Savor di Noci alla Fiorentina (Walnut & Garlic) and a sharp, herb-forward Salsa viridis (Green Sauce). Think of them as a historical alternative to mustard—great for camp kitchens, feasts, and picnic trays.

Flavor contrast at a glance: Walnut sauce = rich & earthy · Green sauce = bright & piquant. Serve both so diners can choose their adventure.

Piatti di Salumi: Renaissance Antipasti & Mostarda (period and non-period recipe included)

“The Royal Feast” by Alonso Sánchez Coello (1531–1588), oil on canvas, public domain. A sumptuous Renaissance banquet scene that captures the richness and communal spirit of salumi, fruit, and condiments on the table.

Piatti di salumi, formaggi, olive, frutta fresca e secca e senape

Plates of cured meats, cheeses, olives, fresh and dried fruit, and mustard — listed on our 12th Night 2024 menu and served during the Primo seruitio posto in Tavola (first service on the table, antipasti). Charcuterie is a modern framing; the Italian period lens is salumi with fruit, bread, olives, and a sweet-hot mostarda. Prepared and plated by Dan Parker, the board leaned rustic and abundant—grapes spilling over, glossy olives, rosemary releasing aroma as diners reached in.

Period Context: Salumi & Mostarda

While “charcuterie” is a French term, the Italian table has long featured salumi—prosciutto, pancetta, lardo, coppa, and regional salami—paired with breads, olives, grapes, and preserved fruits. Renaissance sources also describe mostarda (sweet fruit with mustard heat). Bartolomeo Scappi (1570) includes a Mostarda amabile that blends cooked quince and apple with sugar, candied citrus, and mustard essence.

Scappi, Opera (1570), Libro II, cap. 276 — “Per far Mostarda amabile”
Quince and apples cooked with wine & sugar, worked with candied citrus and spiced with mustard—pounded to a smooth, sweet-hot sauce.

For this feast I used a modern, chutney-style mostarda for ease and flavor balance (link below), which sits comfortably in the same family even if the texture and acidity are more contemporary.

Mostarda: Period vs. Modern (quick comparison)

How Scappi’s mostarda differs from the modern chutney used at feast
Aspect Period (Scappi, 1570) Modern Chutney Used Practical Notes
Fruits Quince & apples; candied citrus peels Apples & pears; dried cherries/cranberries Both seasonal & flexible; quince gives classic perfume
Sweet/acid Sugar + wine + grape must Sugar + white wine + cider vinegar Modern reads more “chutney” from vinegar
Heat Mustard essence/seed Mustard seed + ground mustard + cayenne Adjust heat post-cook to taste
Texture Smooth, pounded sauce Chunky, spoonable conserve Either pairs well with salumi & cheese
Make-ahead? Yes — improves with rest Yes — 3–4 weeks refrigerated Ideal for feast workflow

Gelo in bocconcini di piu colori piatti - Jelly in small bites, of many colors - Scappi

Gello Among the Roasts: A Sweet Surprise at 12th Night By Yonnie Travis, Culinary Historian and Historical Food Blogger at Give It Forth 

Yule log with a golden egg that when cracked open poured out a wealth of golden coins with gryphons on them.

As a culinary historian specializing in medieval and Renaissance foodways, I bring historical jelly dessert recipes from manuscripts to modern tables. At the 12th Night 2024 feast, one such showpiece made its dramatic return—a shimmering, layered jelly known in the kitchen as "gello." This dish paid tribute to a Renaissance feast jelly dish found in Scappi's Opera and Romoli's banquet menus. This post examines the 16th-century gelatin preparation and its cultural significance. It offers a modern version of Scappi's gelatin recipe for you to try at home.


Historical Context: Jelly as Prestige in Renaissance Banquets


To understand why jelly appeared mid-feast, we must look at the structure of Renaissance menus—particularly those outlined in Romoli's La Singolare Dottrina. His January banquet is a masterclass in culinary pacing: it opens with bread and sugared pastries, flows into savory pasta, braised vegetables, and roasted meats, and interlaces confections and jellies throughout. Each phase of the meal is carefully balanced—sweet beside salty, cold beside hot—often with overlapping sensory contrasts on the same plate.


Romoli organized his menus into over ten structured services, including antipasti, allesso (boiled meats), arrosto sottile (delicate roasts), arrosto grosso (larger roasts), torte, and frutte stufate (stewed fruits). Each course reflected a deliberate visual, humoral, and seasonal logic. Rather than isolating dishes by flavor profile, he arranged them to follow a rhythm of richness and relief. This approach created striking moments—such as serving jelly alongside roast game or poultry—not as a dessert but as a cooling, spiced counterpoint. English and French feasts of the same era also adopted this multi-layered service style.


The preparation of Renaissance jellies involved tools and techniques that differ significantly from modern convenience methods. Cooks relied on collagen extracted by slow-boiling the feet of calves, wethers, or lambs. This process took hours and required precise timing. They clarified the resulting broth with egg whites and filtered it repeatedly through spice bags made from muslin or linen. Specialized copper or ceramic pots helped regulate temperature, while ornate molds or even hollowed eggshells shaped the final presentation. This method demanded not just labor but culinary judgment, as no pre-measured gelatin powder ensured success.


In Renaissance cuisine, jelly wasn't an afterthought—it was an edible spectacle. Found amidst roast courses, molded jellies represented Renaissance edible art and embodied the culinary hierarchy of the time. They required rare ingredients (such as spices, wine, and sugar), gelatin-rich bones, and hours of labor-intensive clarification. These elaborate creations symbolized refinement and control over nature, appearing in both Italian and English feast menus as palate cleansers and visual centerpieces.


The growing accessibility of ingredients like sugar and spices during the 16th century helped elevate jelly dishes from medicinal curiosities to prestigious banquet fare. As European trade with Asia, the Middle East, and the New World expanded, elite kitchens gained increased access to cinnamon, ginger, nutmeg, and pepper—ingredients that enhanced the flavor, aroma, and perceived sophistication of jellies. Sugar, in particular, shifted from a rare pharmaceutical ingredient to a hallmark of wealth. Dishes like jelly allowed hosts to signal economic power and global reach through taste and spectacle.


Bartolomeo Scappi articulates this concept in his Opera (1570), where he presents detailed instructions for constructing layered jellies composed of alternating colors, spices, and almond milk dividers. Likewise, Domenico Romoli, in La Singolare Dottrina (1560), integrates jelly into the arrosto course by pairing it with roasted wild boar cheeks, thereby demonstrating the culinary rationale for employing sweet jellies to moderate the heat and richness of roasted meats.


The Arrosto Course on the 12th Night of 2024 - Areinterpretation of Romoli's January menu included:

  • Carré di costolette di manzo – Spit-roasted rack of beef ribs (we substituted brisket)
  • Cipolle brasate in quaresima – Braised whole onions, Lent-style
  • Salsa di noci e aglio – Walnut and garlic sauce
  • Salsa di mostardo amabile – Sweet mustard sauce
  • Minestre di zucche Turchesche – Turkish squash
  • Tortelletti d’herba alla Lombarda – Lombard-style herb tortellini
  • Gelo in bocconcini di più colori – Jelly in small bites, of many colors (the centerpiece!)


Original Italian (Scappi, Opera, 1570)


Scappi’s Cap. CCXLI – “Per fare gelo in bocconi di più colori”
Per fare gelo in bocconi di più colori. Cap. CCXLI.

Piglia piedi di castrato, & di vitella, & se fora del mese d’Aprile, o di Maggio, in loco de quelli di castrato pigliar quelli d’agnello, nettandoli del pelo, & d’ungnie, & cavandone l’osso; lavisi in più acque, & mettanosi a bollire in un pignattone di rame con tanto vino bianco, & acqua che gli stia sopra; schiumi spesso, & facciasi bollire tanto, quanto sarà giusto, acciocché il decotto che se n’hà da formare faccia buona gelatina. Se vogliono accrescergli di bontà, & arte faccian bollire con detti piedi colli di castrato, o vitella, o d’agnello ben netti. Quando detto decotto fia cotto al giusto, cavinsi detti piedi, cavandone la midolla, & passisi per stamegna. Levandone ogni grasso, mettasi in una pignatta con tre ottavi di aceto forte ben chiaro, due libre di zucchero, sei albumi d’ova fresche battute. Facciasi bollire. Quando sarà prossimo a levarsi da fuoco, mettasi in una sacca di panno lino con pepe grosso, cannella, noce moscata, zenzevero, & altri aromati, se piace, & così colisi più volte, acciò sia ben chiaro. Quando detto gelo sarà colato, & schiarito, pongasi in vasi di vetro, o di terra, o in scorze d’ova, facendo li colori a parte. Se si vuole mettere un colore sopra l’altro, aspettisi che l’uno raffreddi, & rassodi prima di mettervi l’altro sopra. Fra uno, & l’altro colore si può mettere gelatina bianca fatta con latte di mandorle. Si può ancora fare con detti colori alcuni modi di frutti in forma, & piante, & animali in forme di cera, o stagno. Pongansi in luogo fresco, & si manterranno.

English Translation:

To make jelly in bites of many colors. Chapter CCXLI.

Take the feet of a wether and a calf; if it is not the month of April or May, substitute lamb’s feet for the wether’s. Clean them of hair and hooves, remove the bones, and wash in several waters. Boil them in a large copper pot with enough white wine and water to cover them. Skim frequently, and boil until the broth reduces to the appropriate level, forming a good jelly. For added flavor and refinement, you may boil clean necks of wether, calf, or lamb along with the feet.

When the broth is ready, remove the feet and extract the marrow. Strain the liquid through a cloth (stamegna), removing all the fat. Place it in a pot with three-quarters of strong clear vinegar, two pounds of sugar, and six beaten egg whites. Bring it to a boil.

When it is almost ready to remove from heat, pour it through a linen bag containing whole pepper, cinnamon, nutmeg, ginger, and any other desired aromatics. Strain it several times until very clear.

Once filtered and clarified, pour the jelly into glass or earthenware containers—or into eggshells. Make each color separately. If you want to stack one color atop another, allow the previous layer to cool and set before adding the next. Between colored layers, you may add white jelly made with almond milk.

🦚 Curious about the full feast?
Explore the complete menu from the Flaming Gryphon 12th Night Feast 2024 to see all the dishes and historical inspirations behind this event.

You may also shape colored jellies into forms of fruits, plants, or animals using wax or tin molds. Store in a cool place and they will keep well.

Early modern cooks employed this historical jelly recipe to layer color, spice, and visual complexity into a refined banquet offering. By gelatinizing richly seasoned broths, they transformed a functional preservation method into a performative culinary art. Within the framework of Renaissance banquet culture, such jellies signaled wealth, aesthetic discernment, and mastery of technique. Their cooling properties, often accentuated by ingredients like almond milk or vinegar, also reflected humoral principles—tempering the heat and dryness of roasted meats to restore bodily balance.


Scappi Gelatin Recipe Modern Version 


Prep Time: 20 minutes active, 4–6 hours chilling time

Yields: One 9" mold or several smaller servings


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Ingredients 


6 cups clear stock (vegetable for vegetarian) 

2 cups white wine (or lemon juice) 

Juice of 1 lemon (or vinegar) 

1/2 tsp ground mace 

1/2 fresh ginger root, sliced 

1 lb granulated sugar 

1 tbsp rosewater 

4 tbsp powdered gelatin (or agar for vegan)


Yellow Variation: Add a pinch of saffron

Red Variation: Use red wine instead of white; infuse with two whole nutmegs and two cinnamon sticks


Step-by-Step Instructions: How to Make Renaissance Jelly


Simmer base: Combine stock, wine, sugar, and spices in a pot. Simmer until flavors meld.

Dissolve the gelatin: Stir it in after removing the pan from the heat and continue stirring until it has fully dissolved.

Strain: Use cheesecloth or fine sieve for clarity.


Layer 1 – Red: Pour the mixture into the mold and chill until it has set completely. 

Layer 2 – White: Mix almond milk with gelatin and rose water; pour over the red layer and chill.

Layer 3 – Yellow: Infuse base with saffron; pour and chill.


Unmold: Dip in warm water briefly to release jelly.


While modern cooks lack access to veal feet and 16th-century spice routes, they can still evoke the elegance and complexity of Renaissance jellies. Infusing broths or white wine with whole spices like cinnamon, ginger, and nutmeg replicates the warming and aromatic profiles found in Scappi's recipes. Clarifying with egg whites, a technique still used in consommé preparation, offers both historical fidelity and visual clarity. Almond milk layers provide a subtle nod to humoral theory, while soft floral notes, such as rosewater, enhance historical authenticity. These adaptations prioritize flavor harmony and visual drama—just as the originals did.


Vegetarian or Vegan Adaptation


To make a Renaissance banquet jelly recipe vegetarian or vegan, substitute clear vegetable stock for the meat broth. Use agar-agar (1 tsp per cup liquid); boil to activate. For the white layers, blend almond milk with agar and rose water. Agar creates a firmer set than gelatin; reduce the amount slightly for a softer texture that mimics historical gelatin.



FAQ: Medieval Jelly Food History


Was jelly served with meat in the Renaissance? Yes. Scappi and Romoli describe serving jelly in roast courses, where it balances hot, rich meats with cool, spiced elegance.


What made jelly a prestige dish? It required costly ingredients—such as sugar, wine, and exotic spices—as well as time, skill, and precise presentation. It signified wealth and artistry.


How long did 16th-century gelatin preparation take? Up to 24 hours. Boiling bones, reducing broth, clarifying, and then molding took a full day or more—often split among kitchen staff.


What is the easiest way to try a Scappi jelly today? Follow the modern adaptation above using stock, wine, gelatin (or agar), and layering in molds. It's a faithful tribute to Scappi's gelo.


Sources & References


Romoli, Domenico. La Singolare Dottrina. Venice, 1560. Google Books

Scappi, Bartolomeo. Opera dell'arte del cucinare. Venice, 1570.

Scully, Terence. The Opera of Bartolomeo Scappi (1570). University of Toronto Press, 2008.

May, Robert. The Accomplisht Cook. London, 1660.


To assist the writing process, I used these Grammarly AI prompts: Prompts created by Grammarly

- "Identify any gaps"